DENISON'S ACTING PLAYS 

Partial List off Successful and Popular Plays. Large Catalogue Free. 



DRAMAS, COMEDIES, 
ENTERTAINMENTS, Etc. 

M. F. 

Aaron Boggs, Freshman, 3 

acts, 2Y2 hrs (3Sc) 8 8 

Abbu San of Old Japan, 2 acts, 

2 hrs (25c) 15 

After the Game, 2 acts, IK 

hrs (25c) 1 9 

All a Mistake, 3 acts, 2 hrs. 

(3Sc) 4 4 

All on Account of Polly, 3 acts, 

ZVa, hrs (35c) 6 10 

And Home Came Ted, 3 acts, 

2^ hrs (50c) 6 6 

Arizona Cowboy, 4 acts, 2^4 

hrs (35c) 7 5 

Assisted by Sadie, 4 acts, 2J^ 

hrs (50c) 6 6 

As a Woman Thinketh, 3 acts, 

2V2, hrs ; (3Sc) 9 7 

At the End of the Rainbow, 3 

acts, 2^ hrs (35c) 6 14 

Black Heifer, 3 -acts, 2 hrs. 

(25c) 9 3 

Boy Scout Hero, 2 acts, 154 hrs. 

(25c) 17 

Boy Scouts' Good Turn, 3 acts, 

Ifi hrs. (25c) 16 2 

Brookdale Farm, 4 acts, 2J4 

hrs (2Sc) 7 3 

Brother Tosiah, 3 acts, 2 hrs. 

(25c) 7 4 

Busy Liar, 3 acts, 2J4 h. (25c) 7 4 
Call of the Colors, 2 acts, 1^ 

hrs (25c) 4 10 

Call of Wohelo, 3 acts, IM 

hrs (25c) 10 

Camouflage of Shirley, 3 acts, 

214 hrs (3Sc) 8 10 

Civil Service, 3 acts, 2% hrs. 

(35c) 6 5 

College Town, 3 acts, 2^ 

hrs (3Sc) 9 8 

Deacon Dubbs, 3 acts, 2^^ hrs. 

(35c) 5 5 

Deacon Entangled, 3 acts, 2 hrs. 

(35c) 6 4 

Down in Dixie, 4 acts, 2i/2 

hrs (2Sc) 8 4 

Dream That Came True, 3 

acts, 2^4 hrs (35c) 6 13 

Editor-in-Chief, 1 hr (2Sc) 10 

Enchanted Wood, 1?4 h.(3Sc).Optnl. 
Everyyouth, 3 acts, 1^ h. (25c) 7 6 
Face at the Window, 3 acts, 2 

hrs (2Sc) 4 A 

For the Lotc of Johnny, 3 

acts, 2J4 hrs (50c) 6 3 

Fun on the Podunk Limited, 

1% hrs (25c) 9 14 

Gattin' Acquainted, 25 min. 

(3Sc) 1 2 

Her Honor, the Mayor, 3 acts, 

2 hrs .....(35c) 3 5 



M. P. 

High School Freshman, 3 acts, 

2 hrs (25c) 12 

Indian Days, 1 hr (50c) S 2 

In Plum Valley, 4 acts, 2J4 

hrs (25c) 6 4 

Jayville Junction, Xy^ hrs. (25c) 14 17 
Kicked Out of College, 3 acts, 

254 hrs (35c) 10 9 

Kingdom of Heart's Content, 3 

acts, 2Va hrs (3Sc) 6 12 

Laughing Cure, 2 acts, 154 hrs. 

(25c) 4 5 

Lighthouse Nan, 3 acts, 254 

hrs (35c) 5 4 

Little Buckshot, 3 acts, 2^ hrs. 

(25c) 7 4 

Little Clodhopper, 3 acts, 2 

hrs (35c) 3 4 

Mirandy's Minstrels. . . . (2Sc) Optnl. 
Mrs. Tubbs of Shantytown, 3 

acts, 214 hrs (3Sc) 4 7 

My Irish Rose, 3 acts, 2^4 hrs. 

(35c) 6 .6 

Old Maid's Club, Wt. hrs.(2Sc) 2 16 
Old Oaken Bucket, 4 acts, 2 

hrs (25c) 8 6 

Old School at Hick'ry Holler, 

\y^ hrs (25c)12 9 

On the Little Big Horn, 4 acts, 

2% hrs (25c) 10 4 

Poor Married Man, 3 acts, 2 

hrs (3Sc) 4 4 

Prairie Rose. 4 acts, 2'/^h.(35c) 7 4 
Real Thing After All, 3 acts, 

2^ hrs (35c) 7 9 

Rustic Romeo, 2 acts, 2}4 

hrs (35c) 10 12 

Ruth in a Rush, 3 acts, 2^i 

hrs (3Sc) S 7 

Safety First, 3 acts, 

21^ hrs (35c) 5 5 

Southern Cinderella, 3 acts, 2 

hrs (25c) 7 

Spark of Life, 3 acts, 

2 hrs (25c) 4 4 

Spell of the Image, 3 acts, 2^ 

hrs (35c) 10 10 

Star Bright, 3 acts, 2^ h. (3Sc) 6 5 
Those Dreadful Twins, 3 acts, 

2 hrs (25c) 6 4 

Thread of Destiny, 3 acts, 2J^ 

hrs (35c) 9 16 

Tony, the Convict, 5 acts, 2'/^ 

hrs (25c) 7 4 

Trial of Hearts, 4 acts, 254 hrs. 

(3Sc) 6 18 

Trip to Storyiand, 1^ hrs.(25c)l7 23 
Uncle Josh, 4 acts, 2^ hrs. (25c) 8 3 
Under Blue Skies, 4 acts, 2 

hrs (2Sc) 7 10 

When Smith Stepped Out, 3 

acts, 2 hrs (50c) 4 4 

Whose Little Bride Are You? 

3 acts, 2J^ hrs (50c) 5 5 

Winning Widow, 2 acts, 1^4 hrs. 

(25c) 2 4 



T.S.DENISON&COMPANY,Publishers.154W.RandolphSt., Chicago 



IT MIGHT HAPPEN 



A FLIRTATIOUS FRAGMENT ] 

In One Flash I 



BY 

FREDERICK G. JOHNSON 

AUTHOR OF 

'Mary's Millions" "Gimme Them Papers!" "Foiled, By Heck!' 

"At Harmony Junction" "Such Ignorance" "The 

School of Detecting" "Good Morning, 

Teacher" "The Press Agent's 

Handbook" etc. 




CHICAGO 

T. S. DENISON & COMPANY 

Publishers 



IT MIGHT HAPPEN 



Scene: Park or wood drop in one, with rustic bench f^ 
left of center. 'i 

Lights: All up from rise to cue for pink flood. At cue, j 
blend pink flood to achieve sunset effect for close. (If light -^ 
effects are iivipracticahle, this may he omitted.) \ 

At rise, stage is empty. The Girl enters immediately i 
from R. and looks back over her shoulder, indicating that \ 
she is being followed and that she is annoyed — but not too , 
m.uch annoyed. She carries a book in her hand. She sees \ 
the bench, sits and starts reading at once. The Man enters '. 
R., walks leisurely across, looking at her as he passes. She 5 
deliberately ignores him,. As he exits L. she looks up to i 
see if he is gone. He re-enters L. and she hastily pays \ 
attention to her book. He -walks briskly across, whistling, \ 
as though he were intent on getting somewhere, does not ■] 
look at her and exits R. Again she looks up after him, \ 
and again he appears R., this time in the same leisurely m^an^ ■ 
ner as at first. She pretends to read intently and turns sev- \ 
eral pages rapidly, to conceal her embarrassment. He ap- \ 
proaches the bench, rem^oves his hat and speaks in a manner /■ 
indicating confidence that she will reply. All the above \ 
"business" must be done with not too great haste, but with >_ 
plenty of snap and dash. In his opening lines, during which ■'. 
he is repeatedly snubbed, he continues to smile in a sociable \ 
way and talk brightly as though she were responding. ] 

He. Good morning. j 

She (gives no sign of noticing). < 't 

He (looks at his watch). I mean good afternoon. ," 

She (continues to ignore him, stifles a yawn and turns ; 

a page). ] 

He. Nice day, isn't it? ? 

She (pays no attention) . :' 

He. Yes, it is a trifle chilly. It looked so pleasant, too, j 

in the park. In this particular part of the park, I mean. j 

4 :' 



IT MIGHT HAPPEN 5 

She (turns sideways so that her back is toward him and 
continues to read). 

He. It's g-etting chillier every minute. Ido hope there's 
not going to be a frost. A late frost always does such hor- 
rible damage — to the apple orchards, you know — and the 
grapefruit groves and — the ukulele trees. Oh, it would be 
simply too awful. And I was just thinking what a won- 
derful peach crop we have this year ! 

She (to herself). Fresh! 

He. Fresh as an apple blossom and dainty as a rose. In 
this beautiful spring sunshine, as pretty as any picture — 

She (angrily, addressing him for the first tim^e). Young 
man, can't you paint your pictures somewhere else ? 

He. Oh, I'm not an artist ; just an art admirer. I love 
beauty. (Looks at her enthusiastically.) I could stand for 
hours looking at a thing that is beautifully painted — 

She (again turns her hack on him and resumes reading). 

He. Oh, I didn't mean that vou — I didn't mean that I — 
I didn't mean to be mean — I didn't mean anything! 

She (frigidly, looking tip front her book). Can't you see 
that you annoy me? 

He. That's funny. You don't annoy me a bit. 

She (dropping book in her lap). Oh, this is perfectly 
impossible ! 

He. Aren't you mistaken? Impossible? Why, it isn't 
even difficult. 

She. Why do you stay and talk to me this way? 

He. It's the only way I know how to talk. I never 
learned the deaf and dumb language. 

She (looking off one side, then the other). Oh, why 
isn't there a policeman here? 

He (pointing off). Do you see that baby carriage? 

She. Yes, but I don't see a policeman. 

He. No, and you don't see any nursemaid, either. 

She (looks at him as if zvondering what he is talking 
about). 

He. That's why you don't see any policeman. 

She. I don't know why they allow tramps in the park. 

He. Oh, do you see a tramp? 



6 IT MIGHT HAPPEN ] 

I 

She {looking straight at him). Yes. < 

He. You mean- — I look like a tramp? ■■ 

She. I mean you act like one. I 

He. Why — I don't carry a tin can tied to my belt", or| 

belong to the I-Won't- Works, or wear whiskers — or any- '■ 

thing. ' ■ 

She. But you go around annoying people^ — and fright- ^ 

ening defenseless women — and flirting — and everything. ] 
He. Flirting? Oh, are tramps as rough as that? .; 

She. It's impossible for us to stay here and talk. j 

He. Then let's go somewhere else and talk. I 

She. I mean we mustn't talk at all. ■:> 

He (dejectedly). Mustn't we? But why? 4 

She. Because we haven't been introduced. I've never,.* 

met you before. ^ 

He (forlornly). All right. I'll go. You'll forgive me J 

for having intruded? ^] 

She (really cordial for the first time). Certainly. ^ 

He (starts L. and stops when nearly off). But suppos- 1 

ing it had happened that we had met before? ^ 

She (brightly). Oh, that would be different. But, you 1 

see, it didn't happen. ; 

He. Well — it might happen! (Exit L.) j 

She (looks after him. regretfully, sighs and tries to inter- j 

est herself in her hook). * 

He (having crossed around back stage, enters R. Ap- ■ 

proaches her as if he is sure of a zvelcome). Oh, good ° 

morning. : 

She (turns in startled surprise). % 

He. I mean good afternoon. 

She. How dare you speak to me? I've never met you. , 
He. Oh, yes.. Don't you remember? 
She. When ? 
He. Ages ago. Why, you were sitting on that very 

bench, and the sunshine was coming down through the trees, 

and — 

She (frigidly). Well? And what? 

He (confusedly). And what? Oh, yes, that's it. And. 

what. 




IT MIGHT HAPPEN 7 

She. And then? 

He. And then — I took a 1-o-n-g walk w-a-y around the 
park. 

She {assumes a haughty manner ivith a view to freezing 
him out). 

He (confidentially). It isn't a very pretty park, you 
know. I've looked it all over. There's only one place that 
I really like. (Her steady gaze of reproof is gradually rob- 
bing him of his assurance.) There's only one girl in this 
park — I mean there's only one park in this bench — I mean — 

She (icily). Don't you think you'd better continue that 
walk? 

He. Oh, no. I'm awfully tired. You know a person 
does get tired — standing on one's feet — 

She. You might find it more restful to stand on your 
hands. 

He. I don't know. Do you recommend it? 

She (again turns her back and gazes at open book). 

He (after a moment's pause). I — I really am tired, you 
know. 

She (does not appear to have heard him). 

He. Would you object very much if I borrowed a part 
— just a teenty, tinety part — of your bench? 

She (ivithout looking up). Unfortunately I can't ob- 
ject. It's a public park. 

He (trying desperately to make talk, as he sits dozvn gin- 
gerly on the far end of the bench). Yes, isn't it? Unfor- 
tunately it's a public park. A public park. A public park. 
Sounds rather Hke poetry, doesn't it? Are you fond of 
poetry ? 

She (pays no attention). 

He. So am I. Good poetry, that is. Sometimes I dash 
off a bit of poetry myself. Of course I don't know whether 
everyone would like my poetry. But I like my poetry. I'm 
very fond of it. I always say that my taste may not be the 
same as everybody else's taste, but I know what I like. 
Now, when I saw you here in the park — well, a real poem 
always comes by inspiration, don't you think? Yes, I think 
so, too. Undoubtedly. The way you said "public park" 



8 IT MIGHT HAPPEN ^ 

was another inspiration. I think if I were sufficiently en- 
couraged I could dash off something really epic. After the 
manner of Byron, perhaps — or Ella Wheele'r Wilcox — al- 
though some people say my poetry sounds like Shelley in 
some of his rarer moments. 

She {studiously ignores him throughout this ridiculous 
chatter) . 

He. Let's see — where was I ? Oh, you asked me to do a . 
bit of verse on that inspiration. Well — how's this ? {Re- 1 
cites haltingly, as though extemporimng). Oh, public 
park, my public park — no — that won't do. If it's public, 
it isn't mine; that is, it isn't all mine. I'm just a sort of a 
shareholder. I insist on my poetry being truthful. Art; 
and truth are inseparable, don't you think? I'll try again 
O children, you should never go 
Into a public park — 
That's rather clever, isn't it? But it seems sort of — unfiri-^ 
ished — somehow. Wait a minute! There's more of it.! 
There must be more of it. {Claps hand to brow, dramat 
ically.) I have it! Listen! {With the last zvord he uncon-\ 
sciously touches her elbozv and she drains her arm azvay/ 
He recites haltingly as before:) 

O children, you should never go 

Into a public park- 
It's full of — full of — of awful animiles 
Just like old Noah's ark. 
Isn't that good ? I'll say it is, too. "Park, ark" — see ? It's 
regular poetry. It has rhymes in it, and everything. And 
then, if you want to, you can go on, Hke this : 
The zebra is a kind of horse, 

And yet again, he ain't. 
So don't annoy the animals 
And don't get near wet paint! 

{Turns and looks at her proudly, as though sure she will 
be delighted.) 

She {bored, looking up). The idea. 

He {taken aback). Yes, I see you get the idea. How 
do you like it? 



IT MIGHT HAPPEN 9 

She. How do I like what? 

He. The poem I just recited. 

She. Oh, did you recite a poem? 

He. Did I recite a poem ? Why, young lady, I — I po- 
eted a poem — all for you ! Didn't you — notice it ? 

She. I was so interested in my book. (Resumes, pre- 
tending to read.) 

He. Are you fond of reading? 

She {without looking up). Yes. Are you? 

He. Some kinds of stories. 

She. What kind? 

He {meaningly) . Love stories. 

She. Mush! 

He. No. I don't care for cereal stories. 

She {impatiently) . Perhaps you don't realize that you're 
making it very difficult to read this way. 

He {looking over her shoulder) . It must be difficult for 
you to read — this way. But I'm not responsible. 

She. What do you mean? 

He (casually). Why, you're holding the book upside 
down. 

She (indignant at having revealed her lack of interest 
in the book, reverses it). There! Do you like that better? 

He (having just put his arm. along the hack of the bench 
and sighing contentedly) . Very much better! 

She (not noticing it because she is looking at the hook). 
I've just come to the most exciting place! 

He. I got here since you did. But do you find it ex- 
citing? 

She (not looking up). Very! 

He (moving his arm as though to embrace her, then 
checking himself and putting it back on the bench). So 
do I ! 

She. It's such an extraordinary situation. 

He. Hm — yes. Isn't it? 

She (dropping the book and looking out into space). It 
must be wonderful to be the heroine in a book ! 

He. I'd be satisfied to be anybody at all — in the same 
book. 



10 IT MIGHT HAPPEN •; 

She (mth animaUon). Now in this book the heroine is 
the most gorgeous thing who ever hved. She has the grace ^ 
of Diana, the beauty of Venus, the dignity of Juno — '\ 

He. Ye gods ! I mean ye goddesses ! ;; 

She. And never in all her eighteen summers has she i 
ever met a man who has ever brought a single flutter to 1 
her heart. One day she goes walking in the wilderness, j 
Out in the great primeval forest she meets, in a secluded ' 
spot — i. 

He. Yes, yes — go on! She meets — ? ;'^ 

She. She meets — can't you guess? J 

He.. Modesty bids me remain silent. j 

She. She meets a man — the man. At the first glimpse ■; 
of her he loves her madly. She bids him be gone, because 
he is a stranger. But deep in her heart — she knows — | 

He. What does she know? '\ 

She (the romantic spell breaking suddenly). Oh, well, i 
it's only a story. In real life that sort of thing never hap- 1 
pens. ;| 

He. Doesn't it ? But — it might happen ! | 

She (nnth a touch of sadness and shaking her head).] 
No. Romance is one thing. Reality is quite another. They| 
are as far apart as day and ni'ght. Romance is vi^hen you; 
dream. Reality is when — 

He. When you wake up. Is that it? 

She (sadly). That's it. 

He. Then why "wake up," as you call it ? Why not go, 

—dreaming — 

She (bitterly). I shall "wake up" very soon. .1 am go-; 
ing to marry a man that I shall always detest! 

He. Detest? Then why marry him? 

She. Oh, it's one of those things the family has had 
arranged for years, you know. It can't be helped. Myj 
father and mother say he's splendid — but there's sure to be; 
something wrong with him. I know I shall loathe him ! 

He. But you haven't found anything wrong with him 
yet? 

She. I haven't even seen him — yet. He has been ir 
Africa, chasing bugs and things. He's some kind of 



IT MIGHT HAPPEN 11 

frightfully serious person — a naturalist, or something like 
that. 

He {greatly amazed) . A naturalist ! 

She {not observing his amacement) . Yes, and I know 
he's going to be a perfectly horrible old — old beetle ! 

He. Ah, yes. An old beetle. 

She. That sort of person is always — ^^that sort of person. 

He. But does he know of this — this matrimonial plot? 

She. Oh, I suppose not. But I know they intend to 
arrange it. And he'll be caught, and I'll be caught — like 
a couple of moths in his detestable old butterfly net, and 
we'll be thoroughly miserable! There's "romance" for you! 

He. But, you know, he really may not be at all a bad 
sort. 

She. But I know he's an absolute fright! He's sure to 
be. I know just exactly. He has a mean disposition, and 
he's conceited, and cranky, and narrow-minded, and — 

He. Oh, really— 

She. I'm prepared for the worst, and he's probably 
twice as bad as what I'm prepared for ! Why, he's the sort 
of person, if he heard of my as much as looking at a per- 
fectly strange man that I saw in the park, that he'd think 
I was a lost soul ! 

He. You don't think he'd approve of you the way — 
I do? 

She. Never! 

He. Why, he might even be enough like me so that he'd 
— fall in love with you ! 

She {in confusion) . 1 really must go. I'm very late. 

He. Just a moment. You might help me with a — a prob- 
lem that is not so unlike yours. I, too, am to meet some- 
one I've never seen. And I believe there are — some inten- 
tions of that sort, too. I've been — would you believe it?-^ 
actually afraid to call. So I came for a stro'll in the park — 
and I saw you — and I forgot everything else. Now I real- 
ize that she, too, may be just as much upset as I. 

She. She's probably a horrid frump ! 

He. That's what I thought — until I saw her. 

She {displeased) . Then she's — pretty? 



12 IT MIGHT HAPPEN ^ 

He. The most adorable creature in the world. (Looks '. 
at watch.) By George! I was to present this letter (takes ; 
envelope out of pocket) at her home and introduce myself ;• 
a half hour ago. ; 

She (icily). Then by all means don't let me keep you \ 
from — the most adorable creature in the world! Take your '; 
letter — and go ! I 

(Cue for blending pink Hood lights to achieve sunset, effect J 
for curtain.) '^ 

He (deliberately). No, I don't think I shall — (takes I 
note from envelope and starts tearing it up) — since I met .1 
you. I 

She. What are you doing? '^ 

He (looks earnestly into her face). I think a letter is a '] 
very poor sort of an introduction — since I met you? (Lets'i 
envelope and bits of paper flutter from his hand.) ', 

She. It's impossible, I tell you. That's romance, but i 
this is — real life. ; 

He. Romance is sometimes rear! life, and it's the dream ; 
that's the nightmare. l 

She (rising to go). For you, perhaps. (Looks dozvn.) ] 
You've dropped the envelope. (Picks it up, glances at it • 
and is astounded.) Why — it's — (looks at him in betmlder- , 
ment). Are you — ? ^ 

He (smiling). Exactly. But bugs and moths would i 
mean very little to me now if I could ca-tch — ' 

She. What? ] 

He. a certain wonderful butterfly. I — I love you very ^ 
much. ;; 

She (thrilled, and happy). Oh, it's happening just like i 
the book! ■' 1 

He. Is it? What happened at the end of the book? "•■ 

She (shyly). She told him that — she loved him. 

He (anxiously, as he extends his hand). But that hasn't -j 
happened yet. I 

She (brightly, as she puts both her hands in Jiis). Well 
— it might happen I 

Quick Curtain. 



DENISON'S ACTING PLAYS 

Partial List off Successful and Popular Plays. Laree Catalogue Free 



FARCES, COMEDIETAS. Etc. 
Price 25 Cents Each 

M. F. 

All on a Summer's Day, 40 min. 4 6 
Aunt Harriet's Night Out, 35 

min 1 2 

Aunt Matilda's Birthday Party, 

35 min. 11 

Billy's Chorus Girl, 30 min... 2 3 

Borrowed Luncheon, 20 min.. 5 

Borrowing Trouble, 20 min.... 3 S 
Case Against Casey, 40 min... 23 

Class Ship, 35 min 3 8 

Divided Attentions, 35 min... 1 4 

Fun in Photo Gallery, 30 min.. 6 10 

Getting Rid of Father, 20 min. 3 1 

Goose Creek Line, 1 hr 3 10 

Great Pumpkin Case, 35 min.. 12 

Hans \^on Smash, 30 min.... 4 3 

Honest Peggy, 25 min 8 

I.ish Linen Peddler, 40 min... 3 3 
Just Like a Woman, 35 min. ..33 

Last Rehearsal, 25 min........ 2 3 

Men Not Wanted, 30 min 8 

Mother Goose's Goslings, 30 m. 7 9 

Mrs. Jenkins' Brilliant Idea, 35m. 8 

Mrs. Stubbins' Book Agent, 30 m. 3 2 

Not a Man in the House, 40 m. 5 

Paper Wedding, 30 min 1 5 

Pat's Matrimonial A'enture, 25 

min 1 2 

Patsy O'Wang, 35 min 4 3 

Rummage Sale, 50 min 4 10 

Sewing for the Heathen, 40 

min 9 

Shadows, 35 min 3 4 

Sing a Song of Seniors, 30 min. 7 

Taking Father's Place, 30 min. 5 3 
Teacher Kin I Go Home, 35 

min 7 3 

Too Much of a Good Thing, 45 

min 3 6 

Two Ghosts in White, 20 min.. 8 

Two of a Kind, 40 min 2 3 

Uncle Dick's Mistake, 20 min. .3 2 

Wanted: a Correspondent, 45 m. 4 4 
Watch, a Wallet, and a Jack of 

Spades, 40 min 3 6 

Whole Truth. 40 min 5 4 

Who's the Boss? 30 min...... 3 6 

Wide Enough for Two, 45 min. 5 2 

Wrong Baby, 25 min 8 

FARCES. COMEDIETAS. Etc 
Price IS Cents Each 

April Fools, 30 min. 3 

Assessor, The, 15 min 3 2 

Baby Show at Pineville, 20 min. 19 
Before the Play Begins, IS 

min 2 1 

Billy's Mishaps, 20 min 2 3 

Country Justice, IS min 8 

Cow that Kicked Chicago, 25 m. 3 2 

Family Strike, 20 min 3 3 

First-Class Hotel, 20 min 4 

For Love and Honor, 20 min.. 2 1 

Ftrdge and a Burglar, 15 min.. 5 



M. F. 

Great Medical Dispensary, 30 m. 6 

Initiating a Granger, 25 min.. 8 

Kansas Immigrants, 20 min... 5 1 

Lottie Sees It Through, 35 min. 3 4 

Pair of Lunatics, 20 min...'.. 1 1 

Pat, the Apothecary, 35 min.. 6 2 

Please Pass the Cream, 20 min. 1 1 

Second Childhood, IS min.... 2 2 

Smith's Unlucky Day, 20 min.. 1 1 

That Rascal Pat, 30 min 3 2 

Two Aunts and a Photo, 20 m. 4 

Two Gentlemen in a Fix, 15 m. 2 

Wanted: A Hero, 20 min 1 1 

VAUDEVILLE SKETCHES 
Price 25 Cents Each 

Amateur, 15 min 1 1 

At Harmony Junction, 20 min. 4 

Breakfast Food for Two, 20 m. 1 1 

Cold Finish, IS min 2 1 

Coming Champion, 20 min.... 2 

Fresh Timothy Hay, 20 min.. 2 1 

Her Hero, 20 min 1 1 

Hey, Rube! 15 min 1 

It Might Happen, 20 min 1 1 

Little Miss Enemy, 15 min.... 1 1 

Little Red School House, 20 m. 4 

Marriage and After, 10 min. . 1 
One Sweetheart for Two, 20 m. 2 

Oyster Stew, 10 min 2 

Pete Yansen's Gurl's Moder, 10m. 1 

Quick Lunch Cabaret, 20 min. . 4 

Si and I, 15 min 1 

Special Sale, 15 min 2 

Street Faker, 15 min 3 

Such Ignorance, 15 min Z 

Sunny Son of Italy, 15 min.. 1 

Time Table, 20 min 1 1 

Tramp and the Actress, 20 min. 1 1 

Troubles of Rozinski, 15 min.. 1 

Two Jay Detectives, 15 min.. 3 

Umbrella Mender, 15 min.... 2 

Vait a Minute 2 

BLACK-FACE PLAYS 
Price 15 Cents.Each 

Axin' Her Father, 2S min 2 3 

Booster Club of Blackville, 25 

min 10 

Colored Honeymoon, 25 min... 2 2 

Coon Creek Courtship, IS m... 1 1 
Coontown Thirteen Club, 2Sm.l4 

Darktown Fire Brigade, 25m.. 10 

Good Mornin' Judge, 35 min.. 9 2 

Hungry, 1 5 min 2 

Love and Lather, 35 min 3 2 

Memphis Mose, 25 min S 1 

Oh, Doctor! 30 min 6 2 

Troubled by Ghosts, 10 min... 4 
What Happened to Hannah, IS 

min 1 1 

A great number of 

Standard and Amateur Plays 

not found here are listed in 

Denison's Catalogue 



T.S.DENISON&COIVIPANY,Publishers,154W. Randolph St., Chicago 



.L'BRARY OF CONGRESS 



POPULAR ENTERTAI. — 9J}5jil809 7 « 



Ulustrated Paper Covers. 




IN this Series 
are found 
books touching 
every feature 
in the enter- 
tainment field. 
Finely made, 
good paper, 
clear print and 
each book has 
an attractive 
individual cov- 
er design. 
A Partial 'List 

DIALOGUES 

All Sorts of Dialogues. 

Selected, fine for older pupils. 
Catchy Comlp Dialogues. 

Very clever; for young people. 
Children's Comic Dialogues. 

From six to eleven years of age. 
Country School Dialogues.' 

Brand new, original. 
Dialogues for District Schools. 

For country schools. 
Dialogues from Dict<ens. 

Thirteen selections. 
Friday Afternoon Dialogues. 

Over 60,000 copies sold. 
From Tots to Teens. 

Dialogues and recitations. 
Humorous Homespun Dialogues. 

For older ones. 
Little People's Plays. 

From 7 to 13 years of age. 
Lively Dialogues. 

For all ages; mostly humorous. 
Merry Little Dialogues. 

Thirty-eight original selections. 
When the Lessons are Over. 

Dialogues, drills, plays. 
Wide Awake Dialogues. 

Original successful. 

SPEAKERS, MONOLOGUES 

Choice Pieces for Little People. 

A child's speaker. 
The Comic Entertainer. 

Recitations, monologues, dialogues. 
Dialect Readings. 

Irish, Dutch, Negro, Scotch, etc. 
The Favorite Speaker. 

Choice prose and poetry. 
The Fridaj/ Afternoon Speaker. 

For pupils of all ages. 
Humorous Monologues. 

Particularly for ladies. 
Monologues for Young Folks. 

Clever, humorous, original. 



Monologues Grave and Gay. 

Dramatic and humorous. 
Scrap- Book Recitations. 

Choice collections, pathetic, hu- 
morous, descriptive, prosg, 
poetry. 15 Nos. 

DRILLS 

The Best Drill Book. 

Very popular drills and marches. 
The Favorite Book of Drills. 

Drills that sparkle with originality. 
Little Plays With Drills. 

For children from 6 to 11 years. 
The Surprise Drill Book. 

Fresh, novel, drills and marehes. 

SPECIALTIES 

The Boys' Entertainer. 

Monologues, dialogues, drills. 
Children's Party Book. 

Invitations, decorations, games. 
The Christmas Entertainer. 

Novel and diversified. 
The Days We Celebrate. 

Entertainments for all the holidays. 
Good Things for Christmas. 

Recitations, dialogues, drills. 
Good Things for Sunday Schools. 

Dialogues, exercises, recitations. 
Good Things for Thanksgiving. 

A ^m of a book. 
Good Things for Washington 

and Lincoln Birthdays. 
Little Folks' Budget. 

Easy pieces to speak, songs. 
One Hundred Entertainments. 

New parlor diversions, socials. 
Patriotic Cejebrations. 

Great variety of material. 
Pictured Readings and Tableaux. 

Entirely original features. 
Pranks and Pastimes. 

Parlor games for children. 
Shadow Pictures, PantomlmeSf 

Charades, and how to prepare. 
Tableaux and Scenic Readings. 

New and novel; for all ages. 
Twinkling Fingers and Sway- 
ing Figures. For little tots. 
Yuletlde Entertainments, 

A choice Christmas collection, , 

MINSTRELS, JOKES 

The Black-Face Joker. 

Minstrels' and end men's gags. 
A Bundle of Burnt Cork Comedy. 

Monologues, stump speeches, etc. 
Laughiand.vla the Ha-Ha Route. 

A merry trip for fun tourists. 
Negro Minstrels. 

All about the business. 
The New Jolly Jester. 

Funny stories, jokes, gags, etc. 

Large Illustrated Catalogrue Free 



T.S.DENISON & COMPANY, Publishers,154W. Randolph St., Chicago 



